What effect can captured sounds have in the world? What process are we setting in motion by switching on an audio recorder at a certain moment, and then switching it off again after a certain period of time? What is the significance of this act by the holder of the recording machine? What is the significance of the movement from sound as a register of location, to the abstract representation of sounds, to the registration of their playback format as a new location?
All the pieces on this cassette represent cuts out of time, taken from specific locations (in this case, between 2016 and 2017 in the city of Beijing, China).
As snippets of sound, maybe they actually tell us very little, as they are abstracted from their original situation and limited to the single sense of hearing. Yet in themselves it is expected that they provide some minimal description of a place and time; they can be appreciated as a limited reportage of the situations they were recorded in.
On the occasion of the release of the cassette compilation of experimental music, “There is no music from China” (published simultaneously in China and New Zealand by Zoomin’ Night 燥眠夜 and End of the Alphabet Recordings respectively), I wrote this text expressing why I think the compilation format is so important. Where it occurs the experimental music scene in China is truly vibrant, but doesn’t have many outlets for expression, is under pressure as it often antagonises authority in any number of ways, and so can be difficult to locate and understand for outsiders. So for the artists in China a compilation such as this is really helpful for creating visibility for their activities, which in turn cements their own practices in relation to their peers.
Compilations are great. Where before there was an amorphous set of individuals working away on their respective projects, whose relationship to their peers and their history was far from amounting to the self-understanding of a distinct grouping or a “scene”, along comes a compilation and magically makes concrete those relationships and gives form to those potential arrangements. This works well both for the artists, giving them a sense of identity based on relativity, and also for the audience, who perhaps were unaware such connections existed. And hence a scene is formed. It’s something of an illusion, of course, but serves as a useful public face for those involved.
Critical Music series: This series of posts focuses on individuals, groups, or organisations that have played notable roles in the history of critical music practices in China. These practices appear in many different guises, often related to concepts such as “experimental music” or “sound art”, although neither term is entirely satisfactory in describing the practices which often exist in many hybrid forms. My adoption of the term “critical music” (following the writings of G Douglas Barrett) attempts to avoid the limitations of these terms, while highlighting the active nature of the sound component of the practices. These posts will primarily take the form of interviews, each one aiming to place the subject within the general history of critical music practices in China, and contextualise their current practice within their overall development.
Welcome to the third interview in this series. Today I am very happy to be able to publish an interview with Ake 阿科, the Beijing-based experimental musician. Ake is a young (born in 1990), self-taught artist, who has only been performing for a couple of years but has become a regular participant in experimental music events in the city. While initially working with violin drones, she has recently started investigating manipulated field recording. I interviewed Ake because I think she represents a new generation of artists in China whose practice is developing within a relatively stable environment for autonomous experimental work, an environment that does not depend on the “regular” music scene to provide it with outlets and reasons to exist.
Despite the closure over the last few years of a number of live venues that were homes for experimental music in Beijing, the scene—while small—is generally maintaining a level of activity that gives great cause for optimism. By way of example, I’d here like to focus on the activities of two members of the Beijing improvisation scene, Zhu Wenbo and Sean Lee.
“no performance” (Sean Lee (left) and Zhu Wenbo (right)) performing Okra, Meridian Space, Beijing, November 2016, photograph by Edward Sanderson.
Zhu Wenbo has quite a high profile locally due to his activity performing solo as well as in a number of groups, and as the organiser of experimental music events, particularly the Zoomin’ Nights series. Sean Lee has a quieter presence as a performer focusing on computer music practices. They first met through their work at the social media company, Douban, and since 2015 have performed together under the name of “no performance”. Zhu Wenbo has elsewhere described no performance as, “between composition and improvisation, electronic and acoustic, or computer program and instrument”, and in 2016 they debuted a new piece called “Okra” combining rule-based composition and improvisation, which has since been performed in a number of forms with different sets of people. I met up with them both at Wenbo’s apartment in Beijing to talk about their backgrounds and what Okra means for them.